Question by Jeffrey M: translate for me ko dito hanap daw ako yund wiling to see me and to knw me atand ako money syo?
please translate wht I have typed to you
Best answer:
Answer by agnesian
if what u typed belong to one sentence only, its confusing no translation.
i think its two ideas:
i will find somebody who is willing to see me and to know me and;
money to you
btw the language is called Tagalog.
gud luck!
What do you think? Answer below!
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| US $14.95 End Date: Tuesday May-22-2012 6:13:54 PDT Buy It Now for only: US $14.95 Buy it now | Add to watch list |
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ein Gangster Rap Beat den ich heute in ca. einer stunde gemacht habe , da ich nicht zum basketball training musste =) ich hoffe es gefällt euch und aboniert mich bitte ich versreche euch das ich mehr und bessere Beats hochlade , ich versuche mich zu verbessern aber ich bin ja erst 14 
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Question by comeback403: If youve become very good with the program fruityloops, is it necessary to spend money on expensive equipment?
Best answer:
Answer by Skillet
Not as long as you are satisfied with the quality of the songs that you are producing.
Know better? Leave your own answer in the comments!
Question by Jimmy T: Where can i make my own beats for free that dont consider no dowloads or payin money?
in skool were making a rap and making beats and i need to find a easy way to make beats that u dont have to dowload or pay..if u can help thnak you very munch.. and ill pick best answer
Best answer:
Answer by trgzzz
try soundclicks.com
Know better? Leave your own answer in the comments!
The BR-800 is the first new entry in the BR series of personal multitrack studios for over four years, but brings things right up to date by incorporating a USB audio interface and software control surface functions, as well as a sleek touch-sensitive control surface.
That aside it’s business as usual – it’s a portable, easy-to-operate machine that offers onboard rhythm programming and a host of onboard effects that can be recorded as part of the input signal, including some guitar and bass amp sims and effects derived, this time, from the GT-10/10B and vocal effects from the new VE-20.
Recording onto an SD card and running from batteries, the supplied power adaptor, or even via USB, the BR-800 is designed to be easily portable. It won’t fit into a pocket but will easily slip into a small bag and is equipped with a pair of microphones so you can use it to record gigs and rehearsals in stereo.
As a multitracker, it supports simultaneous recording of up to four tracks so, if you have the microphones available, you could easily use it to record a multi-mic’d live drum kit either for further overdubs on the BR-800 or for transfer to computer.
Unfortunately, you won’t be able to use a matched pair of condensers, as phantom power is available on just one input channel.
If building up a backing track from scratch is your preferred way of working, the onboard rhythm generator – a stereo track completely separate from the recording tracks and based on the DR-880 drum machine – has a grand total of 327 rhythm patterns including intros, verses, fills and endings in a variety of musical styles. These can be sequenced to create a complete arrangement and the sounds can be chosen from a set of nine drum kits.
There’s no bass programming, but one of the insert effects for guitar is designed to shift the pitch so you get a bass guitar sound from your normal six-string.
The insert effects cover four categories – electric guitar, acoustic guitar, bass and vocals – so you can transform all the input signals that songwriting guitarists are likely to use. Other features tailor-made for guitarists include a dedicated Hi-Z input, an onboard tuner and a couple of hands-free recording modes – one via an optional footswitch and the other implemented by programming punch-in and punch-out locations.
There are also phrase-training facilities with looping, half-speed playback without pitch change and centre-cancelling. All this works both for stuff that you record and imported wavs.
Like previous BR machines, the BR-800 supports virtual tracks – eight for each playback track. This effectively lets you store lots of different takes. For instance, you could have a crack at a solo up to eight times and keep the lot, choosing the best one at mixdown.
When mixing you have a choice of adding either reverb or chorus/delay to each track as well as setting the panning, EQ and volume, plus a mastering effect can be added as you mix your song down to a spare pair of virtual tracks.
Transferring the mix to computer is done via USB, as is archiving of data, but the USB connection can also be used for direct audio transfer, with the BR-800 acting as an audio interface with the ability to send two simultaneous channels of audio to your computer as well as support stereo playback.
You can also set up the BR-800 to work as a hardware controller for various functions of your recording software. Cakewalk Sonar 8.5 LE software with full audio loops and backing tracks is included if you’ve yet to make a start in computer recording.
There’s nothing difficult about the BR-800. Anyone already familiar with the concept will probably be able to get up and running without opening the manual, while beginners will find that BOSS has introduced a couple of modes accessed via dedicated front panel buttons that will gently ease them into the world of multitracking.
The first of these is EZ Record, which quickly sets up the input(s) and calls up an appropriate insert effect and rhythm pattern for the type of music you want to record. A second mode is Song Sketch, designed for instant recording of wav files – ideal for those occasions where you want to grab song ideas before you forget them.
Sound-wise, the onboard mics do a really good job whether recording a band in the room or a solo acoustic guitar and/or voice, while the amp sims and effects are up to the usual excellent COSM standards with a whole bunch of classy electric guitar sounds and the option of connecting an expression pedal.
There are also useful emulations such as those for turning a six-string electric into a bass or an acoustic guitar and modelled acoustic guitar body effects from the AP-1 preamp to make a plugged-in electro-acoustic sound like it’s mic’d.
All of the sounds can be recorded directly to your computer via USB, negating software amp sim plug-ins or a hardware amp and FX processor.
The BR-800 is a great machine that most guitarists would find a host of uses for – besides being a multitrack studio, whether you simply use it as a musical sketchpad to knock song ideas into shape or to produce nicely polished master recordings, it can be on hand to quickly capture ideas, function as a location recorder (stereo or multitrack) and provide a useful phrase training and practice facility – just plug in, dial in an amp sound and play along with the rhythm tracks.
Now, all of that may not sound too different from the BR series machines that preceded this one but the difference this time is in the USB functions. While self-contained hardware recording systems have loads of plus points, they have traditionally been a closed system and not as flexible as software recording systems.
However, as Zoom did previously with its R16, adding audio interface and controller functions means that this type of machine doesn’t have to be a closed system any more – it can be an integral part of a larger set-up if you choose.
Used on its own the BR-800 is an extremely functional machine, but add in that you also get an amp-sim and guitar FX-equipped front-end for a software system and you’re getting massive flexibility for your money.
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Read the original:
Boss BR-800 Digital Multitracker
For this book review, we welcome guest writer Andy Farnell, who himself has a terrific book on interactive sound design and free modular patching environment Pure Data, entitled Designing Sound. It began as a review of a book on using free software – but it could be, more than that, a chance to fight procrastination. And while this runs the gamut, including graphics and design and not just sound, that could be even more relevant to those of us who need to delve into those other areas for our creative work. -Ed.
We all have a stack of things to get round to one day. Building a website. Making a video. Writing a book or recording an album. Allow me to share with you ten days that will transform your list of could do, would do, always going to do… into a list of exciting projects you’ve started.
That’s how long it took me to flick through Daniel James’ “Crafting Digital Media”, a light-reading compendium of software wisdom published by APress and weighing in at just under 400 pages.
It takes two of the major excuses for procrastination, “I don’t understand the interface, so I’m waiting for someone to show me.” and “I don’t have the money to buy the latest software”, and stomps them in the face with a giant boot.
There are roughly eight topics, or chunks of knowledge covered.
The first is about photography, with demonstrations in F-Spot, GThumb and GIMP — all the free tools you need to transfer, manipulate, and polish high-quality digital images.
Every software package in the book is a free, open source product that can be legally downloaded and used. These are not shareware or limited trial programs, but full versions of powerful, standards compatible applications — all modern free software with reliable, polished interfaces and powerful features. The book also comes with a CD containing Ubuntu 9.04.
The second chapter concerns illustration and font design. This is a whistle stop tour of modern scalable vector graphics tools and techniques, touching on Inkscape, FontForge, and GIMP again, showing you how to import, export, convert and edit high quality multi-layered scalable graphics.
Next comes 2D animation, where KToon and Synfig are demonstrated, showing the basic concepts of frame sequencing and tweening. And naturally, 3D modelling follows, with a look at Blender, the immensely-powerful 3D object design and rendering package with auxiliary game engine.
Although each section covers a complete production concept, it isn’t tiring or exhaustive. Just enough guidance is given to launch the program, explore the features, introduce the key concepts and leave you to play. If you actually follow along with the software examples, it’s a truly exciting journey, as you go to sleep each night with your head exploding with possibilities.
The art of publishing is the next adventure, with explorations of page layout, document structure, creating PDFs, posters, books and flyers. Subjects like fonts, typography, kerning and color processes are explained through examples with the Scribus application.
As a musician, you might be wondering where the audio tools are. The book doesn’t disappoint. There’s something for even experienced users in this compendium of tools spanning three chapters. Packages such as Mixx, Hydrogen, Jack, Seq24, Alsa Modular, Audacity, Ardour, and JAMin are explored in the context of all the common tasks like podcasting, recording, sequencing, effecting, compressing and mastering, EQ, CD production, and creating your own streaming server.
As an old fart who has just discovered YouTube, I found the next section on video editing to be very helpful since I’ve just started to explore making video tutorials. The now comical proliferation of incompatible video formats and codecs, a depressing indictment of the failure of standards, are cut through in short order. Daniel lays down the basics of formats and their conversion using AVIdemux, cropping and resizing while preserving high quality, and basic editing using Kino and the Open Movie Editor. A quick treatment of audio sync, titles and effects wraps up the section nicely.
Web development is the last chapter on software packages. Arguably there are so many choices for Web2.0 site design that it’s hard to justify any particular one. This book opts for solid and proven Drupal, along with a tour of the industry standard Apache web server, MySQL back-end, and Icecast media server to give a user-driven internet radio station as the chapter example.
Each of these topics is an entire profession in itself, about which shelves of books could be written, so don’t expect to become much of an an expert in any. What “Crafting Digital Media” does is open the door and get you started producing content very quickly. From there the opportunities are up to you.
As well as gently throwing in up-to-date anecdotal knowledge and asides from his encyclopaedic knowledge of modern media software, Daniel ties together the various threads into a whole that leaves you feeling empowered to start any new digital production project.
Let’s face it, the key to most pieces of software is a few simple steps, a few core commands, that seem so easy once you know them that you want to kick yourself for not trying sooner. Getting over that initial barrier is what this book offers.
The book would be a fantastic companion to new users of Ubuntu Studio, Pure:Dyne or 64Studio distributions, though several of the packages are multi-platform, so are available for Mac and Windows too. Ed.: Indeed, a large number of the tools are cross-platform – GIMP, FontForge, and Inkscape run on Mac and Windows, and Ardour on Mac. But then again, if you’ve got a Mac or PC, this is a great time to explore Linux a bit as a second OS, and all this software is available to you. Graphics software should even run acceptably virtualized. -PK
Title: Crafting Digital Media
Author: Daniel James
Publisher: Apress
Year: 2009
ISBN: 9781430218876
Price: $29 (RRP:$40)
Continue reading here:
The Most From Free Software: Book Review, Getting Things Made, Un-Procrastination
We have been consistently impressed by Indie’s quirky designs and competitive prices. This Shape semi-acoustic guitar sees the company moving upmarket, without losing its value-for-money ethos and emphasis on original design.
Its solid mahogany sustain block and genuine flame maple top give the guitar the extra resonance of a hollow design and the power of a solid body. Combine this with hardware from TonePros and Grover, and the Indie stands tall in the mid-range guitar market.
Indie has easily done enough in terms of specification and build quality to justify the price of the Shape; it continues to impress with its satin finish, and there are no rough edges to be found – even the inside of the f-hole is tidily painted.
“Indie has easily done enough in terms of spec and build quality to justify the price of the Shape.”
The recessed controls, well applied binding and flame finish all smack of a high-end instrument. Although Indie’s doublecut body shape is original, it does remind us slightly of Fender’s much-missed Starcaster, the ’80s axe beloved of Radiohead and The Killers.
Semi-hollow bodies like this are used by guitarists as diverse as bluesman BB King, Britpop wonder Noel Gallagher, G’N'R’s Izzy Stradlin and loincloth toting rocker Ted Nugent.
This list is a good indication of the styles the Shape feels at home in, with its big, fat and sometimes swampy tone providing extra resonance and overtones from the hollow chambers.
The mixture of Indie’s GR8 humbuckers (voiced for a vintage tone) on the semi-hollow body and 25-inch fingerboard gives you the perfect balance between the classic, fat sound of a semi-hollow body guitar and the snappier attack of a longer scale length. The resulting tone makes the Shape a very responsive guitar to play unplugged, too.
Indie claims this model can deal with everything from clean jazz to high-gain rock. Semi-acoustics are certainly versatile beasts and, plugged in, the Shape lives up to that promise.
The guitar has the inherent fatness needed for big chords, and its semi-hollow construction encourages the good kind of feedback when you get lairy.
It’s hard to find fault with this guitar. You’ll appreciate the high build quality from Indie, the unrestricted heel-less neck join, and the way the satin finish doesn’t get sticky, even at sweaty gigs.
While we’ve played better sounding guitars for this money, few match its combination of features, playability and build quality.
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Continued here:
Indie Guitars Shape Doublecut Semi-hollow
Apple today refreshed its MacBook Pro line in a long-awaited update, moving the Apple laptops in line with recent advancements in Intel CPUs and NVIDIA GPUs. There are some caveats when you pull apart the line, however – the 13″ models miss out on the new CPUs in this lineup, at least – and you’ll pay to get some of the better improvements. Of course, a Mac is a Mac; for many readers, it’s the reliability of the combination with the Mac OS that is likely to be the deciding factor.
The best news is, the 15″ and 17″ models are getting new Core i5 and i7 processors, which boast significant performance boosts and improved battery life. That’s a plus both for number-crunching audio production power and for keeping your battery going while you’re running Ableton on the trans-continental coach flight. These aren’t huge changes, though – and, at the risk of igniting some flame wars, there are competitive PCs that use the same technologies. But if you were waiting for this refresh to get a new Mac (or pick up an almost-new Mac at a discount), today’s your lucky day.
You can read the full specs from Apple, and Engadget has even done an unboxing of the top-of-the-line i7 model, but here’s a quick overview of how the models compare.
13″
$1199-1499
Core 2 Duo (2.4-2.66) – not the newer Core i3/i5/i7 (yet)
Integrated graphics (NVIDIA 320M, similar to the 310M – think a new generation of the previous 9400M)
1280 by 800 graphics
Up to 10 hours battery life
Two USB 2.0, one FireWire 800, one SD card slot
15″
$1799-2199
Core i5/i7 (2.4-2.66) CPU
NVIDIA 330M discrete GPU switches with integrated graphics for better battery life
1440 by 900 graphics
9 hours battery life
Two USB 2.0, one FireWire 800, one SD card slot
17″
$2299-2499
2.53G Core i5 ($200 more gets you the 2.66 i7 as a custom option, not listed in the specs)
Three USB 2.0, one FireWire 800, ExpressCard/34 slot
The good news: As always, Apple’s machines have some lovely standard features. All of the models have standard backlit keyboards – ideal for seeing your machine onstage. They all have MagSafe power ports, multi-touch trackpads, great-looking screens, 8x SuperDrives (for burning and reading), iSight cameras, and lovely aluminum bodies.
Sweet spots: the $1199 machine, if you can live without the fastest processor or GPU, is a pretty solid compromise, especially as a satellite to a desktop. (13″ in coach class and on buses is also a big, big win.) I also like the 15″ models, and as readers noted, you can upgrade to a high-density 1680-by-1050, and choose antiglare. Doing that on the cheaper 15″ could be a good way to go.
If you have the money, the 17″ is the one model that offers the biggest display (antiglare is available, though not listed on the “compare” specs page), and it’s the one with ExpressCard. It remains the best “pro” machine for people who want every option. Why would you want that ExpressCard slot? I expect it’ll appeal for those who want one main product, the UAD-2 from Universal Audio, for fantastic-sounding DSP effects. (The slot is also a way to add e-SATA support for more storage flexibility.)
Note that the standard drive is a stock 5400 rpm drive, but you can upgrade to a 7200 rpm model. RPM isn’t the only measure of disk performance, so I’d have to know more to give solid advice there. (I’m also very curious how the SSD option stacks up. Some – but not all – SSD drives are delivering great performance for audio.)
Hi, I’m a PC. There’s no question that you pay a price premium for Apple. Consider, for instance, that the ASUS U30 reviewed by Engadget today costs just $900, has a newer Core i3 CPU and more ports, and a form-factor and battery life that are competitive with a pricier 13″ MacBook. Or for a more luxurious price, you can get something like the Rain Recording laptops – one tested specifically with a range of audio apps – for the same price as a higher-end Mac, with more amenities in storage and I/O. I don’t expect that is going to sway anyone to switch from Mac to PC, but it means those who do like PC software – including exclusives like FL Studio, SONAR, and video editing app Vegas, or booting Linux – still have a good option.
The issues that I think may be more relevant to Mac users:
The bad news: The only machine that allows you to add an ExpressCard slot is the 17″ model. I/O remains limited: you get 2 USB ports on all but the 17″ model and 3 USB ports on that device. FireWire 800 can be used with FireWire 400 devices, but 800 is all you get, which I know still bothers some Mac customers. And there’s no eSATA port, a useful connection now commonly found on PCs.
Snap judgments: So, what do readers think? Already, a few gems from our Twitter friends:
[asked about PC options and cost] “skulpture: nope wud never swap back to Win. I’d rather buy an old MacBook pro.” Fair enough. And, of course, the very-nice previous-year MacBooks are about to get cheaper – look for open box or refurb models, especially. The same user, on FireWire: “well apple have not brought back fw400 so as far as I’m concerned they have shot themselves in the foot- again!” (You can use FW400-to-800 adapter cables. I have heard some users complain about compatibility problems, though I haven’t been able to verify them – anyone?)
“autoy: I think the pixel density for the 15” optional HD display and battery life are the killer features.”
“chaircrusher: new MBPs — faster than the old ones, and expensive.”
That’s not Apple.com’s headline, but I think it’s fair.
The biggest remaining question to me is really the details on the disks – if there’s an 8MB or 16MB cache, for instance, and how the SSDs perform. More on that soon.
Far be it from me to start a platform war, but I’m curious – is anyone considering a PC laptop? Are you committed to one platform or the other, or do you compare? How many people are running Windows in Boot Camp for music production, or Linux on the Mac? After all, at the end of the day, it’s all music. (Some of the feedback I’ve gotten again and again is that choosing a PC – given wildly variable quality and complex options – can be challenging for audio. I hope CDM would be informative whatever platform you choose, so I’m working on good ways of gathering more info on this. Stay tuned. And likewise, if there’s more you want to know about the new Macs, just ask.)
Updated: An early version of Apple’s comparison specs I believe listed the entry-level 13″ computer without an iSight. I don’t have a screenshot, so I can’t verify whether that was an Apple mistake or my mistake, but the current specs verify that the iSight is standard, which makes more sense.
Read the original here:
Apple Refreshes MacBook Pro Line; Models Compared